William Butler Yeats
Ideas of Good and Evil

THE GALWAY PLAINS

Lady Gregory has just given me her beautiful Poets and Dreamers, and it has brought to mind a day two or three years ago when I stood on the side of Slieve Echtge, looking out over Galway. The Burren Hills were to my left, and though I forget whether I could see the cairn over Bald Conan of the Fianna, I could certainly see many places there that are in poems and stories. In front of me, over many miles of level Galway plains, I saw a low blue hill flooded with evening light. I asked a countryman who was with me what hill that was, and he told me it was Cruachmaa of the Sidhe. I had often heard of Cruachmaa of the Sidhe even as far north as Sligo, for the country people have told me a great many stories of the great host of the Sidhe who live there, still fighting and holding festivals.

I asked the old countryman about it, and he told me of strange women who had come from it, and who would come into a house having the appearance of countrywomen, but would know all that had happened in that house; and how they would always pay back with increase, though not by their own hands, whatever was given to them. And he had heard, too, of people who had been carried away into the hill, and how one man went to look for his wife there, and dug into the hill and all but got his wife again, but at the very moment she was coming out to him, the pick he was digging with struck her upon the head and killed her. I asked him if he had himself seen any of its enchantments, and he said, ‘Sometimes when I look over to the hill, I see a mist lying on the top of it, that goes away after a while.’

A great part of the poems and stories in Lady Gregory’s book were made or gathered between Burren and Cruachmaa. It was here that Raftery, the wandering country poet of ninety years ago, praised and blamed, chanting fine verses, and playing badly on his fiddle. It is here the ballads of meeting and parting have been sung, and some whose lamentations for defeat are still remembered may have passed through this plain flying from the battle of Aughrim.

‘I will go up on the mountain alone; and I will come hither from it again. It is there I saw the camp of the Gael, the poor troop thinned, not keeping with one another; Och Ochone!’ And here, if one can believe many devout people whose stories are in the book, Christ has walked upon the roads, bringing the needy to some warm fireside, and sending one of His Saints to anoint the dying.

I do not think these country imaginations have changed much for centuries, for they are still busy with those two themes of the ancient Irish poets, the sternness of battle and the sadness of parting and death. The emotion that in other countries has made many love songs has here been given, in a long wooing, to danger, that ghostly bride. It is not a difference in the substance of things that the lamentations that were sung after battles are now sung for men who have died upon the gallows.

The emotion has become not less, but more noble, by the change, for the man who goes to his death with the thought —

 
‘It is with the people I was,
It is not with the law I was,’
 

has behind him generations of poetry and poetical life.

The poets of to-day speak with the voice of the unknown priest who wrote, some two hundred years ago, that Sorrowful Lament for Ireland, Lady Gregory has put into passionate and rhythmical prose —

 
‘I do not know of anything under the sky
That is friendly or favourable to the Gael,
But only the sea that our need brings us to,
Or the wind that blows to the harbour
The ship that is bearing us away from Ireland;
And there is reason that these are reconciled with us,
For we increase the sea with our tears,
And the wandering wind with our sighs.’
 

There is still in truth upon these great level plains a people, a community bound together by imaginative possessions, by stories and poems which have grown out of its own life, and by a past of great passions which can still waken the heart to imaginative action. One could still, if one had the genius, and had been born to Irish, write for these people plays and poems like those of Greece. Does not the greatest poetry always require a people to listen to it? England or any other country which takes its tune from the great cities and gets its taste from schools and not from old custom, may have a mob, but it cannot have a people. In England there are a few groups of men and women who have good taste, whether in cookery or in books; and the great multitudes but copy them or their copiers. The poet must always prefer the community where the perfected minds express the people, to a community that is vainly seeking to copy the perfected minds. To have even perfectly the thoughts that can be weighed, the knowledge that can be got from books, the precision that can be learned at school, to belong to any aristocracy, is to be a little pool that will soon dry up. A people alone are a great river; and that is why I am persuaded that where a people has died, a nation is about to die.

1903.

EMOTION OF MULTITUDE

I have been thinking a good deal about plays lately, and I have been wondering why I dislike the clear and logical construction which seems necessary if one is to succeed on the Modern Stage. It came into my head the other day that this construction, which all the world has learnt from France, has everything of high literature except the emotion of multitude. The Greek drama has got the emotion of multitude from its chorus, which called up famous sorrows, long-leaguered Troy, much-enduring Odysseus, and all the gods and heroes to witness, as it were, some well-ordered fable, some action separated but for this from all but itself. The French play delights in the well-ordered fable, but by leaving out the chorus it has created an art where poetry and imagination, always the children of far-off multitudinous things, must of necessity grow less important than the mere will. This is why, I said to myself, French dramatic poetry is so often a little rhetorical, for rhetoric is the will trying to do the work of the imagination. The Shakespearean Drama gets the emotion of multitude out of the sub-plot which copies the main plot, much as a shadow upon the wall copies one’s body in the firelight. We think of King Lear less as the history of one man and his sorrows than as the history of a whole evil time. Lear’s shadow is in Gloster, who also has ungrateful children, and the mind goes on imagining other shadows, shadow beyond shadow till it has pictured the world. In Hamlet, one hardly notices, so subtly is the web woven, that the murder of Hamlet’s father and the sorrow of Hamlet are shadowed in the lives of Fortinbras and Ophelia and Laertes, whose fathers, too, have been killed. It is so in all the plays, or in all but all, and very commonly the sub-plot is the main plot working itself out in more ordinary men and women, and so doubly calling up before us the image of multitude. Ibsen and Maeterlinck have on the other hand created a new form, for they get multitude from the Wild Duck in the Attic, or from the Crown at the bottom of the Fountain, vague symbols that set the mind wandering from idea to idea, emotion to emotion. Indeed all the great Masters have understood, that there cannot be great art without the little limited life of the fable, which is always the better the simpler it is, and the rich, far-wandering, many-imaged life of the half-seen world beyond it. There are some who understand that the simple unmysterious things living as in a clear noon-light are of the nature of the sun, and that vague many-imaged things have in them the strength of the moon. Did not the Egyptian carve it on emerald that all living things have the sun for father and the moon for mother, and has it not been said that a man of genius takes the most after his mother?

1903.